Wednesday, May 11, 2011
Sunday, May 8, 2011
Text Photos
This site has some interesting photos of text that I thought people might like. http://pinterest.com/christih/text/
Tuesday, May 3, 2011
USA Today Article, "Arts graduates find jobs, satisfaction"
Hopeful words for those of you about to graduate!
Arts graduates find jobs, satisfaction - USATODAY.com http://usat.ly/jCqbE2
Monday, May 2, 2011
Final Presentation Schedule
Remember to submit your presentation into the 'Advanced Studio Final Presentations' folder on the desktop of our classroom computer BEFORE the presentations begin. If you're unclear about anything, see the 'Final Presentation Guidelines' handout or blog post, or see me.
Wednesday, May 4, 2:20-3:50:
Joanna
Mary
Michael
Jess
Anna
Jordan
Tuesday, May 10, 6:30-10:
Megan
Lindsay R.
Nick
Kristin
Stephanie
Sarah
Meg
Kirstin
Dane
Lindsey P.
Kara
Caitlin
Kasey
Wednesday, May 4, 2:20-3:50:
Joanna
Mary
Michael
Jess
Anna
Jordan
Tuesday, May 10, 6:30-10:
Megan
Lindsay R.
Nick
Kristin
Stephanie
Sarah
Meg
Kirstin
Dane
Lindsey P.
Kara
Caitlin
Kasey
Saturday, April 30, 2011
Wednesday, April 27, 2011
NY Times Review of the Blinky Palermo Retrospective
"Thinking Outside the Canvas" by Roberta Smith: http://nyti.ms/hLHSFO
Tuesday, April 26, 2011
Internship Opportunity
New Baltimore Collegetown Internship:
http://www.baltimorecollegetown.org/internships/details/609/
Organization: Young Audiences Arts for Learning
Department: Program Department
Position: Program and Outreach Intern, SUMMER
Contact: Cara Schaefer
Title: Assistant to the Executive Director and Operations Manager
Address:
2601 North Howard Street, Suite 320
Baltimore, MD 21218
Phone: 410-837-7577
Fax: 410-837-7579
Email: Cara@yamd.org
URL: www.yamd.org
Category: Nonprofit
Service: Our Vision is that one day EVERY student in Maryland will have the opportunity to Imagine, Create, and realize their full potential through the ARTS!
Semesters: Spring (February - May), Summer (June - August), Fall (September - December), Winter (January)
Year: 2011
Responsibilities:
• Work with the Program Director to increase the reach of arts education programming to more students across the state of Maryland.
• Oversee the distribution and collection of assembly and residency program evaluations.
• Make site visits and evaluate running programs and artists.
• Create and distribute contracts for assembly programs to artists and school contacts.
• Assist on-site manager, with Baltimore City Public Schools, Summer Learning Academies- providing on-site support to teachers, artists, and students.
• Update and design Teacher Guides for all arts programs on our roster.
• Work with the marketing department to develop targeted marketing materials and mailing lists to increase visibility in underserved areas of the state.
• Participate in a website redesign, including generating new text, choosing photos and references, and assisting with layout.
• Assist with planning artist-in-residency programs.
• Collect and analyze data pertinent to programming, student reach, marketing, and development.
• Assist with filing and other administrative tasks.
• Assist with special projects
Desired Skills:
• Can do attitude, strong interpersonal skills, positive attitude • Microsoft Office skills, Excel experience a plus • Proficient writing skills • Some understanding of the arts community, Maryland school system, and non-profits
Workdays: flexible
Paid: No
What materials do you require for application?
Resume, Cover Letter, Writing Sample
http://www.baltimorecollegetown.org/internships/details/609/
Organization: Young Audiences Arts for Learning
Department: Program Department
Position: Program and Outreach Intern, SUMMER
Contact: Cara Schaefer
Title: Assistant to the Executive Director and Operations Manager
Address:
2601 North Howard Street, Suite 320
Baltimore, MD 21218
Phone: 410-837-7577
Fax: 410-837-7579
Email: Cara@yamd.org
URL: www.yamd.org
Category: Nonprofit
Service: Our Vision is that one day EVERY student in Maryland will have the opportunity to Imagine, Create, and realize their full potential through the ARTS!
Semesters: Spring (February - May), Summer (June - August), Fall (September - December), Winter (January)
Year: 2011
Responsibilities:
• Work with the Program Director to increase the reach of arts education programming to more students across the state of Maryland.
• Oversee the distribution and collection of assembly and residency program evaluations.
• Make site visits and evaluate running programs and artists.
• Create and distribute contracts for assembly programs to artists and school contacts.
• Assist on-site manager, with Baltimore City Public Schools, Summer Learning Academies- providing on-site support to teachers, artists, and students.
• Update and design Teacher Guides for all arts programs on our roster.
• Work with the marketing department to develop targeted marketing materials and mailing lists to increase visibility in underserved areas of the state.
• Participate in a website redesign, including generating new text, choosing photos and references, and assisting with layout.
• Assist with planning artist-in-residency programs.
• Collect and analyze data pertinent to programming, student reach, marketing, and development.
• Assist with filing and other administrative tasks.
• Assist with special projects
Desired Skills:
• Can do attitude, strong interpersonal skills, positive attitude • Microsoft Office skills, Excel experience a plus • Proficient writing skills • Some understanding of the arts community, Maryland school system, and non-profits
Workdays: flexible
Paid: No
What materials do you require for application?
Resume, Cover Letter, Writing Sample
Artist Talk TONIGHT!
Josh Haycraft aka BHBITB will be speaking TONIGHT in the art history lecture room in Peterson Hall, 7:30 pm! Get off the couch, bring your dinner, don't miss this talk!
Monday, April 25, 2011
The Incredible Whiteness of Art-Museum Audiences
Here's a link to the article I referenced in today's discussion: http://bit.ly/hwDpkP. Niborama is a great blog to be aware of--it's written by the executive editor of ARTnews, Robin Cembalest.
Here's the text (to access links within the article, visit the blog):
"The recent New York Times story about an artist who turns couch surfing into relational aesthetics raised some interesting issues: in an age when the bunking at museums is becoming more commonplace—both as art piece and outreach—the idea of bringing the sleepover-art concept outside the walls of the museum seems quite logical. But it was after the jump, as we say in the biz, that the artist, who goes by the name Kenya (Robinson) [parenthesis intended], described a more revealing aspect of her relation to the mainstream art world. When she went to Marina Abramovic’s retrospective at MoMA, (Robinson) said, the guard told her she was a rare African-American face in the crowd. So (Robinson) organized groups of 15-20 people of color to come to the museum, she told the Times—but they never got to the front of the line to sit across from Abramovic. Given that lots of people never made it either, that unfortunately resonant metaphor seems less disappointing than the that fact museum demographics clearly remain out of whack with the general population. There are plenty of studies that bear this out—but a glance around most museums or art galleries will suffice.
Of course, as museum directors note, the percentages change when you’re talking about school groups—and, in a report that the American Association of Museums released today, 21.7 percent of museums surveyed spent more on K-12 education in 2010 than they did before. But that’s all museums, not just art museums—and it’s still not good enough. Yet when Arnold Lehman tries different ways to attract more diverse audiences to the Brooklyn Museum, he’s pilloried for not bringing in enough of them. “Only” 340,000 people? Maybe it’s the right 340,000.
Recent surveys trumpet the fact that museum attendance is rising—at least in some of the places at some of the time. But it’s urgent that museums keep trying different ways to attract more diverse audiences, until they get it right—and even if they get it wrong along the way. That means working to bridge the divide between curatorial and education departments until they figure out into how to convert those students into repeat visitors. It means acknowledging that admission fees are preventing those students from coming with their families—in LaPlaca Cohen’s study, 49 percent of respondents said they had decreased their attendance at cultural events because of the economy. (The AAM says the average museum admission fee is “just $7.”)
It also means that professional organizations dedicated to advocacy and networking start rethinking the admission rules and membership fees that turn away the very people they supposedly want to embrace. A look at the attendees at recent award ceremonies for the United States section of the International Association of Art Critics and ArtTable showed how much work remains to be done. Let’s put it this way: Not too many people looked like the guards."
Here's the text (to access links within the article, visit the blog):
"The recent New York Times story about an artist who turns couch surfing into relational aesthetics raised some interesting issues: in an age when the bunking at museums is becoming more commonplace—both as art piece and outreach—the idea of bringing the sleepover-art concept outside the walls of the museum seems quite logical. But it was after the jump, as we say in the biz, that the artist, who goes by the name Kenya (Robinson) [parenthesis intended], described a more revealing aspect of her relation to the mainstream art world. When she went to Marina Abramovic’s retrospective at MoMA, (Robinson) said, the guard told her she was a rare African-American face in the crowd. So (Robinson) organized groups of 15-20 people of color to come to the museum, she told the Times—but they never got to the front of the line to sit across from Abramovic. Given that lots of people never made it either, that unfortunately resonant metaphor seems less disappointing than the that fact museum demographics clearly remain out of whack with the general population. There are plenty of studies that bear this out—but a glance around most museums or art galleries will suffice.
Of course, as museum directors note, the percentages change when you’re talking about school groups—and, in a report that the American Association of Museums released today, 21.7 percent of museums surveyed spent more on K-12 education in 2010 than they did before. But that’s all museums, not just art museums—and it’s still not good enough. Yet when Arnold Lehman tries different ways to attract more diverse audiences to the Brooklyn Museum, he’s pilloried for not bringing in enough of them. “Only” 340,000 people? Maybe it’s the right 340,000.
Recent surveys trumpet the fact that museum attendance is rising—at least in some of the places at some of the time. But it’s urgent that museums keep trying different ways to attract more diverse audiences, until they get it right—and even if they get it wrong along the way. That means working to bridge the divide between curatorial and education departments until they figure out into how to convert those students into repeat visitors. It means acknowledging that admission fees are preventing those students from coming with their families—in LaPlaca Cohen’s study, 49 percent of respondents said they had decreased their attendance at cultural events because of the economy. (The AAM says the average museum admission fee is “just $7.”)
It also means that professional organizations dedicated to advocacy and networking start rethinking the admission rules and membership fees that turn away the very people they supposedly want to embrace. A look at the attendees at recent award ceremonies for the United States section of the International Association of Art Critics and ArtTable showed how much work remains to be done. Let’s put it this way: Not too many people looked like the guards."
Sunday, April 24, 2011
2 Opportunities
1. More is More
LAL provides exhibition and instructor opportunities for local, regional, national and international artists alike! http://bit.ly/eqjnO0
Exhibition Dates: July 22 – September 10, 2011
Entry Deadline: April 22, 2011
See the Call for Entries Poster
More is More examines a common tendency towards multiples and repetition in contemporary art. Our love and worship of multiples takes on many forms, including both repeating objects and images. Are we responding to an influence from industry, technology, materialism and consumerism? Or is this exponential growth from a more abstract desire or compulsion? Regardless where the pattern originated, these serial acts have profound implications about the society that created them. This national juried exhibition offers artists’ exploring the concept of multiples, repetition or abundance, in any media, a chance to exhibit the results. LAL invites artists to openly and creatively interpret this theme.
Artists may submit images and/or videos of their work along with an entry form, exhibition statement, and resume for consideration. All media will be considered.
Eligibility and Media
All artists and designers, age 18 and older, are eligible to enter More Is More. All media and styles will be considered. No reproductions will be accepted. All works must have been completed since 2005 and not previously shown in any LAL gallery.
2. "Young Porfolios" program
In an effort to preserve works by young persons enthusiastic about expressing themselves through the art of photography, the Kiyosato Museum of Photographic Arts(K*MoPA) issues an annual call for submissions to its "Young Porfolios" program. This is not a contest. All photographers, professional or amateur and regardless of nationality, are invited to submit their published or unpublished works to be considered for induction into the Museum's permanent collection. The single condition is that applicants must be 35 years old or younger. We look forward to receiving unique images showcasing the creativity of younger artists in the field of photography.
http://yp.kmopa.org/index.php?ml_lang=en
LAL provides exhibition and instructor opportunities for local, regional, national and international artists alike! http://bit.ly/eqjnO0
Exhibition Dates: July 22 – September 10, 2011
Entry Deadline: April 22, 2011
See the Call for Entries Poster
More is More examines a common tendency towards multiples and repetition in contemporary art. Our love and worship of multiples takes on many forms, including both repeating objects and images. Are we responding to an influence from industry, technology, materialism and consumerism? Or is this exponential growth from a more abstract desire or compulsion? Regardless where the pattern originated, these serial acts have profound implications about the society that created them. This national juried exhibition offers artists’ exploring the concept of multiples, repetition or abundance, in any media, a chance to exhibit the results. LAL invites artists to openly and creatively interpret this theme.
Artists may submit images and/or videos of their work along with an entry form, exhibition statement, and resume for consideration. All media will be considered.
Eligibility and Media
All artists and designers, age 18 and older, are eligible to enter More Is More. All media and styles will be considered. No reproductions will be accepted. All works must have been completed since 2005 and not previously shown in any LAL gallery.
2. "Young Porfolios" program
In an effort to preserve works by young persons enthusiastic about expressing themselves through the art of photography, the Kiyosato Museum of Photographic Arts(K*MoPA) issues an annual call for submissions to its "Young Porfolios" program. This is not a contest. All photographers, professional or amateur and regardless of nationality, are invited to submit their published or unpublished works to be considered for induction into the Museum's permanent collection. The single condition is that applicants must be 35 years old or younger. We look forward to receiving unique images showcasing the creativity of younger artists in the field of photography.
http://yp.kmopa.org/index.php?ml_lang=en
Thursday, April 21, 2011
Lindsey's Discussion Questions
1.) The first question posed at the beginning is what is the Contemporary? The term contemporary has been discussed in great lengths; What is your personal definition of Contemporary Art? Does it line up with Groys' definitions? Relate your definition your personal work.
2.) While reading, a passage that stuck out to me the most was: "The present is a moment in time when we decide to lower our expectations of the future or to abandon some of the dear traditions of the past in order to pass through the narrow gate of the here-and-now" What is your response to this statement? Do you agree? Can you relate it to how you approach your body of work?
3.) Groys speaks in depth about art evolving and time. Where do you see art in the next 10 years? 15?
2.) While reading, a passage that stuck out to me the most was: "The present is a moment in time when we decide to lower our expectations of the future or to abandon some of the dear traditions of the past in order to pass through the narrow gate of the here-and-now" What is your response to this statement? Do you agree? Can you relate it to how you approach your body of work?
3.) Groys speaks in depth about art evolving and time. Where do you see art in the next 10 years? 15?
Wednesday, April 20, 2011
Kirstin's Questions for "Comrades of Time" by Boris Groys
1) Groys describes one viewpoint that art is only truly contemporary if it captures the present in a way that is totally uncorrupted by past traditions or ideas for the future. Later we are given a contrasting viewpoint that states that the present is always corrupted by the past and future.
Which viewpoint do you agree with more? Do you think that it is even possible for the present to be completely free of influence from the past and future? Does influence from the past and future necessarily have to be a bad thing?
2) The article describes the present, especially contemplation of the present, as a barrier impeding the natural flow of time and the realization of ideas for the future. Part of this is due to our persistent boredom with the present. We tend to not be able to describe what the present means and look to the past and future with excitement.
Do you agree that we generally take the present for granted and do you think that this boredom interferes with the artistic process? Have you experienced this when it comes to your own work?
3) Groys talks about how in our time, because of all of the technology at our disposal, it is possible for anyone to be an artist and that because of this we live in a time of all artists and no spectators.
Do you think that it is possible for someone to be a spectator in a time when art is so participatory in nature? Do you think the ability to view art from the comfort of our own homes is a threat to viewing artwork in galleries?
Questions for "Comrades of Time" by Boris Groys
Chloe stole two of my questions, so here goes and let's hear what you think!
1) On p.23, Derrida (via Groys' interpretation) claims that "the present is originally corrupted by past and future." In our art classes, we are told time and time again not to "create art in a vacuum" and to look at outside sources. Does this essentially mean we are corrupting our art? Explain.
2) Groys explains how modernism moves forward using less and less "baggage," resulting in a stream-lined, highly reduced present (p. 24). Can this trend continue? Is it possible to keep shedding old ideals and create art that is even more reduced? Does this trend apply to your own artworks?
3) Do you agree with Groys' analyzes of museums on p.27, where he explains one anticipates everything in a museum to be art, that museums are no longer homes for permanent collections, etc? Can you think of any specific examples that come to mind, and is this a "good thing" (as in, should museums be a revolving door of artwork)?
4) Explain the duality of the negative and positive points of time-based art, presented by Groys on p.39 (last paragraph). Is time-based art really its own "comrade in time?"
1) On p.23, Derrida (via Groys' interpretation) claims that "the present is originally corrupted by past and future." In our art classes, we are told time and time again not to "create art in a vacuum" and to look at outside sources. Does this essentially mean we are corrupting our art? Explain.
2) Groys explains how modernism moves forward using less and less "baggage," resulting in a stream-lined, highly reduced present (p. 24). Can this trend continue? Is it possible to keep shedding old ideals and create art that is even more reduced? Does this trend apply to your own artworks?
3) Do you agree with Groys' analyzes of museums on p.27, where he explains one anticipates everything in a museum to be art, that museums are no longer homes for permanent collections, etc? Can you think of any specific examples that come to mind, and is this a "good thing" (as in, should museums be a revolving door of artwork)?
4) Explain the duality of the negative and positive points of time-based art, presented by Groys on p.39 (last paragraph). Is time-based art really its own "comrade in time?"
Questions for Reading #5, Comrades of Time by Boris Groys
Be specific! Reference the text!
1) Watch Francis Alys’ video “Politics of Rehearsal” here: http://bit.ly/gbTVUj
Reactions? Comments? Questions? Based on what Groys is saying in this section (pg. 30-31), do you think this is an appropriate example?
2) On page 32, Groys states that “To be contemporary does not necessarily mean to be present, to be here-and-now; it means to be “with time” rather than “in time.”
What does “contemporary” mean to you? Can you find an example of an artist you feel, based on this reading and Groys’ own criteria, to be the most “contemporary?” Post an image of the artist’s work along with an explanation.
3) Define vita activa, vita contemplative, and heterotopia. What are the origins of these terms and why are they used/relevant in the reading?
4) Groys asks on page 36, “How can a contemporary artist survive this popular success of contemporary art? Or, how can the artist survive in a world in which everyone can, after all, become an artist?” What do you think? Use specific examples (artists, quotes, viral videos, other readings, etc.) to back up your response.
1) Watch Francis Alys’ video “Politics of Rehearsal” here: http://bit.ly/gbTVUj
Reactions? Comments? Questions? Based on what Groys is saying in this section (pg. 30-31), do you think this is an appropriate example?
2) On page 32, Groys states that “To be contemporary does not necessarily mean to be present, to be here-and-now; it means to be “with time” rather than “in time.”
What does “contemporary” mean to you? Can you find an example of an artist you feel, based on this reading and Groys’ own criteria, to be the most “contemporary?” Post an image of the artist’s work along with an explanation.
3) Define vita activa, vita contemplative, and heterotopia. What are the origins of these terms and why are they used/relevant in the reading?
4) Groys asks on page 36, “How can a contemporary artist survive this popular success of contemporary art? Or, how can the artist survive in a world in which everyone can, after all, become an artist?” What do you think? Use specific examples (artists, quotes, viral videos, other readings, etc.) to back up your response.
Monday, April 18, 2011
Review of Rachel Whiteread's Show in NYC
Here's another example of a not-so-flattering review of Rachel Whiteread's show at Luhring Augustine in Chelsea. A few of us saw this show last month--do you agree with the reviewer?
http://bit.ly/i0foPs
Visiting Artist: Josh Haycraft aka BHBITB lectures on Tuesday 4/26!
Our second and final visiting artist of the semester, Josh Haycraft, will be lecturing on Tuesday April 26th at 7:30 pm in Peterson. Josh received an MFA in Interdisciplinary Studio Art from MICA's Mount Royal School of Art graduate program in 2009. He currently teaches at Westwood College in Arlington, VA and at MICA. For more about Josh, visit www.bhbitb.com
Remember that your attendance is mandatory!
Final Critique Schedule
Final critiques begin Wednesday 4/27! Here's a list of who's going when:
Wednesday 4/27
Stephanie
Lindsay R.
Mary
Jordan
Kirstin
Kara
Nick
Mike
Dane
Monday 5/2
Sarah
Kristin
Joanna
Caitlin
Meg
Meghan
Kasey
Jess
Anna
Be ready!
Wednesday 4/27
Stephanie
Lindsay R.
Mary
Jordan
Kirstin
Kara
Nick
Mike
Dane
Monday 5/2
Sarah
Kristin
Joanna
Caitlin
Meg
Meghan
Kasey
Jess
Anna
Be ready!
Final Presentation Guidelines
We will begin final presentations on WEDNESDAY May 4th—our final exam time is Tuesday May 10th, 6:30-9:30 pm. Those who have other exams during our exam time will be expected to present on May 4th. No exceptions—you must present to receive credit.
CRITERIA:
-Format: Microsoft PowerPoint slide presentation
-What needs to be included?:
-Your revised artist statement. You will also turn in a hard copy to me when you present. No emails! (20 points)
-3 Artist Influences. Include images of their work and talk about why they are relevant to you. (20 points)
-Baltimore Artist Project. See the project sheet for all criteria. If you met with your artist, hopefully you have documentation. Include images of their work, facts about them, why you chose them, anything you feel the need to share. Remember that you should have been communicating with this person throughout the entire semester. Feel free to share parts of their artist statement, any shows they’ve been in, etc. Also include any failed attempts and explain why it didn’t work out. Again, see the sheet. (60 points)
-Daily Chronicles Project. Images of development/progress, include images of any “failed” attempts or adjustments you made throughout the semester. (50 points)
-If you’re in Advanced 2-4, include any work you did in previous semesters that lead you to where you are with your work currently.
-Everyone must include images of ALL work completed/in progress/incomplete this semester. Include any “failures”, sketches, notes, diagrams, studies, etc. that lead to final pieces, then of course include images of “completed” pieces. I’m going to go over image formatting so that you can re-format your image sizes and not have to turn in such a large presentation that it crashes my computer. We’ll also be going over how to document your work (taking digital photos, scanning, etc). (50 points)
-Include any thoughts about where you think the direction of your work will be heading next.
Total: 200 points
Your presentation should last no more than 15 minutes, so pace yourself. You’ve got a lot of info to share—be concise, edit yourself, practice.
I don’t want to see any stock backgrounds, slide transitions, music/sound additions, etc. Remember that this presentation represents you as an artist—keep it neat and professional, and again, edit yourself. Feel free to contact me with any questions.
Sunday, April 17, 2011
Sketchbooks due Monday 5/2
Here's what I'm looking for when I grade your sketchbooks:
-Have you researched artists that have been suggested for you to look up? Are you researching artists at all? (printed out images, notes, etc)
-Are you taking notes about feedback given to you in critiques?
-Are you doing thumbnails sketches and drawings for future projects?
-Are you planning for future projects? (tests, experiments)
-Are you taking notes on any other research you're doing? (about materials, articles, essays, books, etc)
-Are you using your sketchbook as a tool to record your interests/thoughts related to your studio practice?
Your sketchbooks are due no later than Monday 5/2 (no exceptions), and I'll start accepting them for grading next week if you feel you're ready. I'll have them graded and returned to you on Wednesday 5/4.
-Have you researched artists that have been suggested for you to look up? Are you researching artists at all? (printed out images, notes, etc)
-Are you taking notes about feedback given to you in critiques?
-Are you doing thumbnails sketches and drawings for future projects?
-Are you planning for future projects? (tests, experiments)
-Are you taking notes on any other research you're doing? (about materials, articles, essays, books, etc)
-Are you using your sketchbook as a tool to record your interests/thoughts related to your studio practice?
Your sketchbooks are due no later than Monday 5/2 (no exceptions), and I'll start accepting them for grading next week if you feel you're ready. I'll have them graded and returned to you on Wednesday 5/4.
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